"Since 1998, Albert Weis has been working on a series of works entitled folders, in which he installs folded pieces of paper and architecture photographs together, both usually in A4 format. The stock of individual elements grows and changes. In their small format the folders reflect the fundamental interest of the artist in spatial contexts in which architecture, urban structures and social patterns relate to each other and settle together. Many of the photographs reflect zones of everday urban passages; squares, footpaths, roads or bridges intersect and structure the photographs analogously with the rythm of the building complexes, resulting in a simultaneity of surface and depth. The gliding between two and three dimensons is continued in the folded paper objects. By creasing the A4 sheets in totally different directions, Weis develops corporeal objects. In addition to this, he covers the folded paper with squared transparent foil, normally used in architecture and design bureaus.

With the variable system of the folders, Albert Weis is addressing a "nomadic space" in which movement is the predomi-nant element and human and architecture must continually establish a relationship with it." (S.Martin, in:"Der große Wurf, Faltungen in der Gegenwartskunst", ex.cat. Kunstmuseen Krefeld, Freiburg 2008, p.131)

"The video "habitation" deals with the utopian and urban renewal project of the post-war modern period. The video is comprised of footage, taken over seven hours, that depicts a corridor from a housing estate designed by Le Corbusier in Firmini, France. For several years, a third of the house, from the top floor to ground level, was separated from the rest of the tract via glass walls and remained uninhabited. After the urban estate was declared (and then protected) as a cultural treasure, the building was returned to its original state in 2006-07. The video depicts the last, not-yet-renovated corridors in which the apartment doors stand open, allowing light to fall on the opposite wall. During the seven-hour time suspension, the sun travels around the entire building, so that light and shadow in the corridor change imperceptibly. Formally, the work refers to art of the 1960s, such as Frank Stella's early stripe paintings, but also to early Egyptian buildings, in which similar structures occurred." Albert Weis, 2008